James Henry

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Maggie Gyllenhaal's TV show honoured at U.K. awards

By:
WENN.com
Mar 13, 2015

Maggie Gyllenhaal's political thriller The Honourable Woman scooped a top prize at the U.K.'s Broadcasting Press Guild Television and Radio Awards in London on Thursday night (12Mar15). The TV show won the Best Drama Series award at the glitzy event, while another top honour went to Brit Toby Jones, who has starred in films including The Hunger Games and the Captain America blockbusters.
He won the Best Actor trophy at the prizegiving for his role in TV movie Marvellous, while Quartet star Sheridan Smith was named Best Actress for her role as veteran pop star Cilla Black in small screen biopic Cilla.
Jones' Marvellous was also named Best Single Drama, while James Nesbitt's thriller The Missing landed the Breakthrough Award.
Funnyman Lenny Henry was honoured with the Harvey Lee Outstanding Contribution to Broadcasting prize.

Items belonging to late Hollywood legend Lauren Bacall will go under the hammer next month (March15). Hundreds of personal effects belonging to the actress will go on show at Bonham's in New York on Sunday (15Feb15) until Thursday (19Feb15) and will then be auctioned off.
Items include John James' famous painting the American White Pelican, which is expected to fetch $64,000 (£40,000), and a 16-carat gold bracelet, which is predicted to go for $24,000 (£15,000).
Other lots listed include a bronze figure of Bacall's first husband Humphrey Bogart as Sam Spade in film The Maltese Falcon, and artworks by Henry Moore, David Hockney and Noel Coward.
Bacall died at her home in New York last year (14) at the age of 89.

Actors Emma Roberts and Dave Franco have been cast to star in the big screen adaptation of young adult novel Nerve. The American Horror Story star will portray an innocent girl who breaks out of her shell by playing an online game of truth-or-dare called Nerve, with a sexy and mysterious man, played by Franco.
In the thriller based on the popular book by Jeanne Ryan, the game's stakes grow increasingly higher as she finds herself in life-threatening situations.
American Horror Story executive producer Jessica Sharzer penned the screenplay, while filmmakers Henry Joost and Ariel Schulman, who directed hit online dating documentary Catfish, will direct the project.
It will mark the third time Roberts has co-starred with a Franco - she starred alongside Dave's older brother James in his film Palo Alto, as well as new gay rights drama I Am Michael, which debuts at the Sundance Film Festival on Thursday (29Jan15).

20th Century Fox Film via Everett Collection
Movie legend Lauren Bacall has died after suffering a stroke at her home in Manhattan, New York. The 89-year-old star of classic films The Mirror Has Two Faces, How to Marry a Millionaire and Key Largo was married to two other big screen greats, Humphrey Bogart and Jason Robards, and she famously romanced Frank Sinatra. Bacall first emerged as a leading lady opposite Bogart in 1944's To Have and Have Not and enjoyed success onstage as well as on the big screen. She scored Tony Awards for her Broadway shows Applause and Woman of the Year, and Golden Globe and Oscar nominations for her role in 1996's The Mirror Has Two Faces. She received an honorary Academy Award in 2009. Her autobiography, By Myself, won a National Book Award in 1980. Born Betty Joan Perske in New York, Bacall's mother was a Romanian immigrant and her father was a New Jersey salesman. After studying at the American Academy of Dramatic Arts in New York, she landed a handful of small off-Broadway productions while making waves as a young model. Rumour has it that the wife of moviemaker Howard Hawks was so taken by the one-time Miss Greenwich Village's beauty when she appeared on the cover of style bible Harper's Bazaar, she suggested her husband should screen test her. That meeting led to her breakthrough as Marie Browning in To Have and Have Not, which became the first of many projects that teamed her up with Bogart. The 'Bogie-Bacall' romance is still considered one of Hollywood's greatest love stories. The stars wed in 1945 and were inseparable until the actor's death in 1957. She also appeared in Bright Leaf, opposite Gary Cooper, and teamed up with fellow big screen pin-ups Marilyn Monroe and Betty Grable in 1953's How to Marry a Millionaire. Her leading men also included Henry Fonda and Tony Curtis (Sex &amp; the Single Girl), Paul Newman (Harper), John Wayne (The Shootist) and Jack Lemmon and James Garner (My Fellow Americans). Bacall's voice was used in 2012 Oscar-nominated animated movie Ernest &amp; Celestine and she was reportedly filming crime drama Trouble Is My Business at the time of her death on Tuesday morning (12Aug14).

Kc & The Sunshine Band frontman Harry Wayne Casey has paid tribute to disco and R&B mogul Henry Stone, following his death on Thursday (07Aug14). The TK Records co-founder passed away from natural causes at the age of 93 at a Florida hospital.
Stone played an instrumental part in the careers of Ray Charles, James Brown and KC & The Sunshine Band after launching his own recording studio and label in 1948.
Charles became his first big artist, recording his early song St. Pete Florida Blues, also known as I Found My Baby There, at the studio.
Stone also helped to sign soul legend Brown and his band The Famous Flames, and scored a big hit with Please, Please, Please in 1956.
Casey, aka KC, worked part time at TK Records and ended up landing his group a deal at the label, where they experienced huge success with songs including Get Down Tonight, Shake, Shake, Shake (Shake Your Booty), That's the Way (I Like It), and I'm Your Boogie Man.
He also co-wrote George McRae's hit Rock Your Body in the mid-1970s with his bandmate Richard Finch.
Calling Stone his "mentor", Casey adds, "Henry believed in me when no one else did."
Meanwhile, Finch tells the Miami Herald, "The world of music has lost a trailblazer - a legend - but personally, I've lost the only father I've ever known.
"He was my friend and mentor... He gave life to the studio concept that Harry and I created together at TK, resulting in the birth of our band, KC & the Sunshine Band. Our success, the success of so many other TK artists, all props and thanks lie solely at the feet of Henry Stone."

Warner Bros. Pictures
San Diego Comic-Con: the annual gathering of comic book nerds, blockbuster action movie fans and the slightly terrifying people who still watch Supernatural religiously. It's the biggest pop culture event of the year, a time when studios bring the biggest and most shriek-inducing stars together to unveil new projects and showcase the exciting things fans will eventually be camped out all night for. And even though not all of us are lucky enough to experience Comic-Con in person, that doesn't mean we don't deserve to get all the up-to-the-minute news, reports and surprises. Since we here at Hollywood.com don't want you to miss out on all the excitement happening in Hall H or the surprises being unveiled over the weekend, we're running down the biggest news to come out of San Diego during the convention to ensure you can stay on top of everything, whether you're stuck in the office or waiting in line for another sold out panel.
All Bow Before ThanosAt the tail end of star-studded Avengers: Age of Ultron portion of the Marvel panel, Thanos himself, Josh Brolin joined the rest of the cast and riled up the crowd with a plastic Infinity Gauntlet, though this version of the legendary Marvel artifact probably doesn't have the power to create universe-spanning chaos like the real deal. The panel also featured short sneak preview of the upcoming film, which shows the team of heroes trading quips over drinks and taking turns trying to pick up Thor's hammer before banding together to battle Ultron. The trailer received a standing ovation from the mesmerized crowd.
The World's Finest Go Head to HeadIt looks like things are getting tense on the Batman V Superman: Dawn of Justice set. The Warner Bros. panel featured Ben Affleck and Henry Cavill sizing each other up like prize fighters in front of an estatic Hall H crowd. We have to note how absolutely huge Affleck looked during the conference; Superman is certainly going to have his hands full. Director Zack Snyder then premiered a short sneak preview of the film, which showed a heavily armored Batman rigging up the Bat Symbol before looking up to see a angry looking Superman with glowing red eyes, ready to fire on the dark vigilante.
The Princess of the AmazonAlso at the Warner Bros. panel, Snyder revealed the first glimpse of Gal Godot's Wonder Woman costume via a new poster. The image features Wonder Woman brandishing a sword in an apocalyptic backdrop; the new costume, while lacking the iconic stars and stripes, is a fine mix of comic book inspirations and modern sensibilities. Best of all, Gadot looks positively fierce in the role. You could almost hear all the haters around the world silence at once.
Get ready for Guardians of the Galaxy 2Still a week away from the release of Guardians of the Galaxy, a boldly confident Marvel revealed that Guardians of the Galaxy 2 would arrive on July 28, 2017, with director James Gunn appearing via video from London to help announce the news.
The Hateful Eight Is a GoAfter a very messy and public leaking scandal, it looks like cooler heads have prevailed. Quentin Tarantino's shelved Western is set to begin filming in early 2015.
Ant-Man Infests Hall HThe cast and crew of the turbulent Ant-Man production gathered at the Marvel panel to introduce newcomers Corey Stoll and Evangeline Lilly to the crowd. Lilly will play Hope Pym, The daughter of Hank Pym (Michael Douglas) while Stoll will play Darren Cross, who will eventually become a similarly insect-themed foil to Ant-Man named Yellowjacket. Marvel boss Paul Feige also introduced a clip from the film which featured Paul Rudd's Scott Lang in the Ant-Man suit, jumping on a flying insect while being coached by Hank Pym.
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Cinéart
It's the beginning of the summer, which means it's time for Hollywood's biggest and brightest stars to make their way to the French Riviera for the Cannes Film Festival, while the rest of us look on with jealousy. But just because you didn't snag a ticket to the most glamorous film event of the year, that doesn't mean you can't keep up with all of the big films premiering over the next two weeks. To help you stay on top of things, we're running down the biggest films that premiered in competition at the festival, including Michel Hazanavicius' gritty follow up to The Artist, a strange, metaphorical film from Jean-Luc Godard, and a possible Palme D'Or winner.
Two Days, One Night The latest film from Cannes fixtures Jean-Pierre and Luc Dardenne, Two Days, One Night stars Oscar-winner Marion Cotillard as a woman who has one weekend to convince her co-workers to give up their annual bonuses so that she can keep her job. Assisted by her husband, played by Fabrizio Rongione, she must find someone to help her convince her boss to reconsider, and to give her another chance despite the time she had to take off for depression. The film premiered to positive reviews, and it's considered one of the frontrunners for the Palme D'Or.
"Cotillard's best work since La Vie En Rose unquestionably ranks as her most credible turn, as the actress demonstrates a fragility that never veers into the realm of overstatement. Despite its basic trajectory, her actions are littered with surprising moments, and each new co-worker she encounters adds another layer of texture to this delicate portrait of personal and professional priorities clashing with awkward results." - Eric Kohn, Variety
"The Dardennes have made a brilliant social-realist drama with a real narrative tension which is something of a novelty in their work. [...] As for this solar-panel company, it appears to have a union in that a vote has been forced which the management will abide by, but it is a union which manages and regulates the decisions of those above them, and they are certainly not united enough to reject out of hand the insidious Bonus/Sandra choice. Yet movingly, solidarity is what the film is about; solidarity is what Sandra is trying to achieve as her emotional state comes to pieces, through a majority vote in a democratic election." - Peter Bradshaw, The Guardian
The SearchAfter winning a Best Picture Oscar for The Artist, director Michel Hazanavicius went in a different direction for his follow-up, The Search. Set during the Second Chechnyan War, an NGO worker (played by Berenice Bejo) cares for an orphan boy, Hadji, who refuses to speak or open up to her in any way. Hazanavicius describes his film, which is based on the 1948 movie with Montgomery Clift, as a "picture of dignity" and "a true canvas of the suffering of humanity.”
"It’s ambitious of Hazanavicius to cram so many of war’s horrors into one film, but it makes that film a slow-moving, bloated one. And once you’ve got used to the way he cuts between three different strands, it becomes apparent that not much is actually happening in any of them. There are shockingly credible depictions of firefights and bombings, and there are more shots of corpses than you’d see in a typical zombie movie. [...] For a war movie, The Search is curiously short of conflict." - Nicholas Barber, BBC Culture
"Coincidentally quite timely in the wake of recent Russian moves on its neighbors, the writer-director’s first full-on drama attempts to present a mosaic portrait of the suffering in a region little-known or understood by the world, hence the perceived lack of concern. The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time." - Todd McCarthy, The Hollywood Reporter
Joss Barratt/Sixteen Films
Jimmy's Hall Irish director Ken Loach's latest film tells the story of activist Jimmy Gralton, who was deported from the country during the Red Scare of the 1930s. Gralton was the founder of the Pearse-Connolly community hall, where people from the town gathered to learn about art, music, and literature. However, his actions upset the Catholic priests and town leaders, who opposed to his teachings and practices.
"Ken Loach has taken a despicable episode of modern Irish history — the 1933 deportation without trial of one of its own citizens, James Gralton — and made a surprisingly lovely, heartfelt film from it with Jimmy’s Hall. A thematic sequel of sorts to his Cannes-winning The Wind That Shakes the Barley, Loach’s 24th fiction feature finds the activist-minded director trafficking in familiar themes of individual liberties, institutional oppression and the power of collective organizing, here infused with a gentle romanticism that buoys the film without cheapening the gravity of its subject." - Scott Foundas, Variety
"Loach has made a sumptuous period piece, beautifully photographed by Robbie Ryan, using many local people in the crowd scenes, wearing wonderful tweeds, slipovers and wrap dresses, riding on antique bikes and in donkey-drawn carts through the green hills and boggy valleys, dancing merrily. It all looks great, a dream of Ireland before the blissful bungalows. The characterful faces are a treat too, above all that of Jimmy’s aged mum (Aileen Henry, new to acting)." - David Sexton, London Evening Standard
Goodbye To Language 3D Legendary director Jean-Luc Godard's newest project takes a relatively straightforward story - a couple reflect on their relationship, life and the world around them - and through the use of voice-over, imagery and non-linear storylines, turns it into a confusing, entrancing "film essay." Starring Heloise Godet and Kamel Abdeli, the film has been described as everything from "hilarious" to "frustrating."
"Goodbye to Language" is in 3D, and a very challenging 3D at that. The film is structured in numbered sections that repeat themselves with different or overlapping content, and there are brain-scrambling superimpositions, texts, clips from old films, solarized images, and footage shot with low-res cameras. There’s even a costume-drama sequence depicting Mary Shelley and Lord Byron. The sense of experimentation is extravagant, and the 3D effect achieves such notable depth of field that this little movie puts mainstream mega-bucks productions like "The Great Gatsby" to shame." - Barbara Scharres, Roger Ebert.com
"To some degree, the overwhelming montage taps into the over-saturation of today's media climate, a point that Godard makes explicit several times: the recurring shot of a flat-screen television broadcasting static speaks for itself, as does a more comical bit in which two strangers continually tap away on their iPhones and exchange them, repeating the action. [...] It doesn't take a lot of analysis to determine Godard's intentions: He portrays the information age as the dying breath of consciousness before intellectual thought becomes homogenized by digital advancements." - Eric Kohn, IndieWire
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uniFrance Films
Hollywood treats its audiences to so many love stories every year, but few quite like Bright Days Ahead: a movie, from French director Marion Vernoux, that touches on the enchanting pull of new love, but also those in a longtime marriage. Vernoux tackles the difficulties inherent in sustaining a relationship over a lifetime, bringing to light in her film just how much more valid a romance about a mature woman like her hero Caroline (played by Fanny Ardant) can be.
Speaking to Vernoux and Ardant, we tapped into what separates "authentic" love from that we often see in cinema and the true nature of love as it grows and changes over the course of one's life.
I can't remember the last time that I saw a movie that approached romance so honestly, in a way that actually felt like it would happen in real life. Was the specific intention to approach romance in a way that you don't often see in the movies?
Marion Vernoux: I didn’t deliberately set out to make this kind of different film. I wasn’t thinking of that as my approach. But I’m very glad you see it that way. For me, as Fanny has often said, too, I didn’t want a film that would have this layer of romanticism on top of it. I wanted it to seem believable that two people could get together and there could be this spark between them, but without having it be the usual overboard kind of reaction between them. To make it seem like it was something that could of actually happened.
Was there something specific about the character that really rang true?
Fanny Ardant: One part of the character of Caroline: she’s not easily bound. She likes her freedom. She’s not a conformist. I feel at ease with this character. It’s like a part of myself. The rest is cinema!
MV: For me, it was almost sort of an equation. I wanted to make a film that showed that when you fall in love, you don’t always fall in love the same way all the time. It’s not always the same. I wanted to show that how you fall in love and falling in love is something that can evolve. It evolves with you as a person based on your experience, based on your age, based on the life that you’ve lived. I have this fantasy that the older you get, the more experienced you get, the better you are at loving and being loved. That, for me, was what was important. That as you mature, you can progress in love.
That brings up something that I think is very interesting. I wonder why most romantic movies are about people in their 20s or their teens, not about mature women, who have had legitimate life experience. What do you think people in Hollywood are afraid of? And what value do movies about these women have that the usual products do not?
FA: If you look carefully at the literature — French, Russian, English — it was a long time ago that they started to speak about love affairs with older women. At that time, when you are 40, it is like now when you are 60. Because the population is becoming older and older. It was always in the humanity. Maybe cinema, because it is a picture, the director or the cinematographic industry thinks you [need] sex appeal. So they put a beautiful face, a beautiful body, and they forget the true feelings. As you said, you can be in love like Romeo and Juliet at 20 or 15, or at 80, like Henry Miller. I think because it’s a picture, the representation of love belongs to the beauty. The perfect body, perfect face. I think from the beginning of humanity, love affairs were always at every age.
MV: That's very true.
Splash News
I agree! Were there any other specific films or pieces of literature, like you mention, that helped to shape your ideas about how real, legitimate love stories should be handled in art?
MV: One of the most important films for me was The Graduate. It is one of my favorite films because it shows things just how they should not be. What you have there, the older woman is shown as the predator, and she’s got him in her clutches. And he’s this young guy, he’s still a virgin, she deflowers him. It’s all these stereotypes. And even as a teenager — this is the kind of movie that made me want to live and made me want to make films — but it’s also to show you that Ms. Robinson is the exact antithesis of what Caroline is in the film. It’s also why I included a tiny little reference in the film, pulling out the stocking.
Yes! I noticed that.
FA: Do you remember this movie, an American movie, about a love affair with an older woman, Terms of Endearment? I remember this movie. That was no problem. Do you remember the lady? [Shirley MacLaine]. With Jack Nicholson. It was strong because you believed this love affair between them and in the middle of the drama —
MV: Who was the director? James L. Brooks?
FA: So maybe, for [those] reasons ... it succeeded. Sometimes you have that kind of movie. It's not all the rubbish things that pass. You had Romeo and Juliet once. But you try to do the same, it's very difficult.
With so many love stories in film, very few of them that I've seen are actually about marriage. Usually they're about people who meet and fall in love for the first time.
FA: We have this sentence in French: "Happy people have no story." It’s true. You are not going to speak about happiness.
MV: But it was important for me to speak about this marriage. I thought it was really important to show in a film, what do you do when you’ve lived together as a couple for such a long time? How do you survive those moments that are difficult? The times when you come out of sync with each other, and you’re just not on the same wavelength. But then manage to bring yourselves back into sync with each other. So I thought it was important to show that.
But do you both think there are so few movies about marriage because of that saying, "Happy people have no story"?
FA: No, because there's [also a saying], "A comedy finishing with a wedding is a tragedy starting."
[Laughter]
FA: Excuse me. That is the French mentality.
Even though this movie is very authentic and grounded in reality, it's still a very enchanting movie, and delightful, romantic love story...
FA: When you are the spectator in the dark room, every time, a piece of life is caught. You never know. It’s not like the classic movie where part of the pleasure is knowing where it’s going to end. You never know. You are waiting for something, but you never know. [The viewers] don’t even know what they want. Because some people want that she stays with the lover, other people want her to go back to the husband. So, I think it's a movie made by that flash. You are in front of reality in real life. You have no time to think about reality. Reality, at the same time, for me, doesn’t exist. Reality is a vision that you have.
MV: I think it’s also Fanny's presence in the film that adds to that sensation you have of it being real but enchanting.
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Oscar-nominated actress and singer Ronee Sue Blakley has filed a defamation lawsuit against her screenwriter ex Carroll Cartwright amid allegations of defamation relating to his 2012 film What Maisie Knew. Cartwright co-wrote the script for the drama, which was said to be an adaptation of Henry James' 1897 novel of the same name.
The story followed a young girl who was used as a pawn in a bitter custody battle between her abusive mother Susanna, played onscreen by Julianne Moore, and her father Beale, portrayed by Steve Coogan.
However, Blakley is convinced Cartwright used aspects of their own lengthy custody fight over their daughter Sarah in the film and now she is suing, citing "libel in fiction".
In her complaint, filed in Los Angeles Superior Court, her lawyer writes, "If Susanna had been an entirely fictional character, this lawsuit would never have been filed. But that is not the case. Cartwright, who co-wrote the screenplay of the Film, has admitted that it is closely based on his own first hand (sic) personal experience of a lengthy and acrimonious battle for the custody of his daughter, Sarah."
The papers continue: "Cartwright wrote the screenplay to further his own feelings of hatred for Blakley by maliciously and falsely portraying her as a selfish and uncaring mother, when in fact she was a devoted and loving parent. This false depiction of Blakley has damaged her reputation and caused her to suffer severe emotional distress."
Blakley, known for her roles in 1975 movie Nashville and A Nightmare on Elm Street in 1984, is suing for $3 million (£1.9 million) in damages.

Warner Bros via Everett Collection
Although Batman may not be the oldest cinematic superhero (that title goes to Superman), Bruce Wayne’s alter ego is probably the most beloved and iconic. In a movie genre that is features dozens of superheroes from both Marvel and DC comic book universes, Batman is still one of the fan favorites. Since Ben Affleck will be helping Batman returning to the big screen in 2015 alongside Henry Cavill’s Superman, let’s take a look back at caped crusader’s best incarnations on film and in TV.
George Clooney
The general consensus is that Clooney was the worst Batman of all time. His wooden delivery of bad puns and the infamous “nipple suit” essentially killed the Batman franchise of the '90s. However, for those who love a good pun (or a couple dozen terrible puns), Batman &amp; Robin can still be enjoyable.
Val Kilmer
As the predecessor to Clooney’s Batman, Kilmer’s wasn’t much better. However, he managed to pull off the humor in Batman Forever a bit better alongside Tommy Lee Jones and Jim Carrey. Kilmer should also be credited for knowing when to bail on the franchise because at least he jumped off the sinking Batship.
Adam West
Though most people under the age of 30 probably recognize West from his time voicing cartoon characters on Family Guy and The Fairly Odd Parents, he first became popular by playing Batman in the campy 1960s television show. Although it’s nothing like the gritty superhero films of today, if you ever catch Batman in reruns, it’s definitely worth a watch.
Will Arnett
The Lego Movie should appeal to Batman fans who might think the caped crusader has been taken a bit too seriously in recent years (looking at you Christopher Nolan and Frank Miller). Arnett’s Batman is more of a parody of the famous character, but still just as enjoyable — and probably even more hilarious.
Michael Keaton
After years out of the spotlight, Keaton (along with the help of Tim Burton) brought Batman back to the big screen. Following in West’s footsteps, though, Keaton was the first to emphasize the superhero’s darker side and he will forever hold that accolade within Batman history.
Christian Bale
After Clooney and the epic failure that was Batman &amp; Robin, the caped crusader needed a few years off. Then, Bale brought Batman back to life in Nolan’s insanely successful — both commercially and with fans — trilogy. Though the voice was often parodied, Bale totally revitalized Batman (and made way for Batfleck, which, let’s be honest, we’re all excited to see).
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